Friday, September 17, 2010

Two Mothers - Ruth

Here is a poem I was working on way back when I was in Kim's class.  I think it was the only one I asked her about other than classwork and she advised I add more of the cord imagery and used particulars where I used abstracts for "unspeakable..."  I made a few minor changes and sent it to her but it must have been lost or she was moving or something, so I'm presenting it here.

I was very emotional when I wrote this, maybe I didn't have the perspective I needed.  I showed it to one person who thought it was "bathos."  I haven't worked on it since way back when, so I thought I'd dredge it up now and see if it is indeed "bathos," if I can rescue it, and in what direction to take it, and finally what about the changes.  In the first version what I removed are in italics, in the second version what I added are in italics.  I don't like the second change about bones and swords, but before I work any more on this thought I'd post it here and get an opinion(s).

 
Two Mothers  (first version)


In May, one week after Mother's Day
a blonde woman waves to her children
and drives away in a red car.

The breath of health embraces her,
life rings from the bell of her body.
Around the corner, a blue van

appears, full of young men, someone's sons,
drunk. One of them is mine. Iron grinds,
land and sky spin out a surreal

sculpture, the woman at its heart.
Yet it's all too real. Petals
of familiar voices encircle

her like a wreathed bouquet issuing
a soothing scent for a fragile moment
until it's lost to the acrid

reek of gasoline. A cloud of bitter
soot sucks the breath from her mouth.
Red and blue fuse to the color

of a bruise. Unspeakable sound
is the only knowledge;
unbearable pain is the only truth.

The door to the earth opens,
deep and cold, numb and still.
I yearn to throw a lifeline,

unwinding the cord that binds my heart
to pull her back to this world,
one mother to another.

But what the boys have taken
cannot be returned.
...........................................................
Two Mothers   (second version)


In May, one week after Mother's Day
a blonde woman waves to her children
and drives away in a red car.

The breath of health embraces her,
life rings from the bell of her body.
Around the corner, a blue van

appears, full of young men,
someone's sons, drunk. I am tied
to the one who is mine.  Iron grinds,

land and sky spin out a surreal
sculpture, the woman at its heart.
Petals of familiar voices encircle

her like a wreathed bouquet,
a soothing scent for a fragile moment
until it's lost to the acrid

smell of gasoline. A cloud of bitter
soot sucks the breath from her mouth.
Red and blue fuse to the color

of a bruise. The only truth
is bone split to sword,
twisted viscera, a brutal roar.

The door to the earth opens,
deep and cold, numb and still.
I yearn to throw a lifeline,

unwinding the cord that binds my heart
to pull her back to this world,
one mother to another.

But what the boys have taken
cannot be returned.

13 comments:

  1. Ruth--

    I absolutely love your poetry. I've only read your two versions twice and I liked your first version a lot better. It's more poetic sounding if that makes any sense to you. I think I found in the second poem it sounded a little harsh. I don't know if this helps you any, but I hope so.

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  2. I know what you mean about harsh, Mel. I think that's why I made the first one more "abstract" to suggest the harshness without graphically describing it. Breaking rules!

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  3. Ruth, I love the revisions-- you pared this moment down to its essentials and from that the sorrowful beauty of it arises. Lovely--

    especially like the revisions in this section: Red and blue fuse to the color


    of a bruise. The only truth
    is bone split to sword,
    twisted viscera, a brutal roar.

    Excellent revision choices--then we move from 'roar' directly into the open earth-- stunning and powerful. Send this somewhere for publication, please! (See, I'm still following you around, even from St Louis. . . Rachael sent me the link to this blog. Hope you are well. Looking forward to seeing new work from you. Best, Kim )

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  4. Kim, I hope St. Louis is a magical place once you pass through the golden archway! (I can hear the "Ha!" all the way in Ames.)

    Thank you for your help with this. I was not sure about either change. One more question: Is "I'm tied to the one who is mine," in the second version, a bit much? I like the way it brings in the cord theme at the beginning, but I also like the straightforward simplicity of "One of them is mine." Maybe I can hit on something that does both... cord theme and simplicity. Any ideas?

    Also, anybody, is "someone's" correct?

    It's nice to hear from you, Kim, and know that you are still connected to us! I hope your writing is going well.

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  5. Ruth, I like the revisions. Direct is not always the same as harsh.

    I hope I will have something to post soon. (now that the season for visiting relatives is over)

    Lynne

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  6. Glad to see posts! Can't get my mind to cooperate in writing someting new or revising existing beginnings.

    Lynne

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  7. Ruth,
    Your second version is so good (so is the first.)
    It is so real,visual,raw if that is the right word-I mean descriptively so. It brought tears to my eyes. I really appreciate you sharing this with us. I can tell it is close to your heart. Mother/son relationships are so different from other ones. This brings me back to the time when my son was having so many problems-I could identify with the emotion.

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  8. Ruth, I definitely like the second version-I am tied to the one who is mine goes so well with the cord that binds later in the piece.

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  9. TY, Debbie. Where is everyone? In the rain at the game?

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  10. Ruth,
    I like "one of them is mine" better than "tied to the one that is mine." It is clearer that one of the boys in the van is the son of the speaker. Tied could mean many different things. this is vivid and heart breaking. I agree with Kim, that you should send it out. The stanza that stands out to me is

    The breath of health embraces her,
    life rings from the bell of her body.
    Around the corner, a blue van

    When "the breath of health" appears, I start to wonder if this is about a recovery from illness? Perhaps it is out of order. We may need to see the crash and then reflect on the fact that the life did ring "from the bell of her body" but doesn't any more. We don't know what will happen to her in the next line so its context-less, and loses some of its meaning. Also the first two lines are lyrical and "Around the corner, a blue van" really stands out against them as being matter of fact. Maybe put this action first, and explain it better.

    It is interesting that the speaker of this poems shows such empathy for the mother, but any empathy she may have for her son is missing form the poem. What happens to the other people in this crash? Does this mean that the other mother is the only one who died? "But what the boys have taken cannot be returned" is a statement charged with judgement on "somone's boys" which include the speakers own. It leaves me as a reader with many questions about this story and how it unfolded. I like that it focuses on the mother to mother empathy, but what emotions lie outside of the poem seems to charge and color the material with sophisticated layers of meaning. It might be important to allude to how the mother views her son's role in the crash (as innocent bystander or implicated with the other boys), or to eliminate the judgement of culpability all together as a conflicting emotion with the central ones of this poem.

    Ruth, I can tell this must have been an emotional poem to write, but you stray far from "batohs" here. You have a measured poems grounded in imagery and action and that makes it strong. Thank you for sharing this, it is wonderful.

    Anna

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  11. Ruth,
    I like "one of them is mine" better than "I am tied to the one who is mine." It means he is her son more directly than the word "tied" which could mean many things.

    I agree with Kim. You should send this out. Far from falling into "bathos" this poem is measured with strong imagery and grounded action. Its wonderful.

    I leave this poem with many questions about how the mother feels about her son's role in the accident. I love that the central emotions center around the mother to mother bond and empathy. but that focus on empathy for the mother eliminates any idea of how the speaker feels about her son. How did the others fare in the crash? "but what the boys have taken can not be returned" is such a statement of judgement, so interesting based on the fact that one of them is her son. Does she see her son as implicated with the others or an innocent victim? These emotions provide unclear layers beneath the story. They are fascinating, but I wonder if they need to be alluded to more clearly, or eliminated for the sake of focusing on the central emotions.

    Anna

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  12. Ruth,
    Sorry, I thought the first post didn't come through. So you get some repeat here.
    Anna

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  13. Thank you, Anna. I can see many of your points. I changed the second stanza:

    "Life rings from the bell of her body,
    the breath of being embraces her.
    From deep within the shadows,

    a blue van emerges,......."

    This eliminates the word health which really doesn't fit, and maybe adds some foreshadowing? ("Deep within the shadows" may have to change, but I was looking for something more lyrical.)

    I feel it needs to unfold this way and end abruptly in the ground. Of course I know what is coming so it doesn't seem out of context for me. I'll have to think about that.

    I specifically didn't want to look at this from the boys' viewpoint, and didn't want to go into the relationship the mother has with her son or this would turn into a long essay or a short story.

    That's why I tried to keep the emotions mother to mother. The "I" of the poem feels quite connected to a stranger who dies. That her son is part of the whole drama and somewhat culpable, and therefore the son's mother is too, seems implied by this feeling of connection. Maybe that's not clear. But I thought by including a few allusions to the son/boys I could show the motivation for the connection of mother to mother.

    I try to keep judgment out, but yes, you are right, there it is in the last line, though it is a statement of fact. I think it implies that the boys all have a share in the responsibility for this tragedy, and I think it also implies the boys survive, but maybe that's not clear either.

    To me, the last line is important, so it's interesting to hear a response from someone who isn't emotionally involved in the whole thing.

    Maybe this is just too complicated to try to express in a short poem.

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